A work well done is inspiration in itself. Marco, for Malayalam’s latest cine sensation Unni Mukundan, is that inspiration. He basks in all the glory of the Rs 100-crore-plus success, finds in it the culmination of positive thought, action, risks, planning, creativity, et al. He looks back at it for energy and fulfilment, but is careful not to get carried away.
Unni is now all set to transition from the brute to the boy-next-door mode on screen. His next — Get-Set Baby, to be released on February 21 — promises his “soft-hearted, very neighbourly” avatar. Get-Set Baby is a poignant yet warm and lively take on the life of a male doctor who helps couples build a family, says Unni, who plays a fertility specialist in the film.
TNIE catches up with Unni for a quick chat. Excerpts
How much of a planned move was Marco? It seems there was a detailed analysis of how ready audiences are for the action genre…
Yes, there was an analysis. The success of films such as KGF showed there was space for movies that spoke action. And I have a flair for it. So, whatever we did on Marco was a well-thought-out, strategised, and hard-worked plan. The space for an outright action film was what we invested in. There was a significant risk taken, too, as the investment was Rs 30 crore — on a film that we knew would have a restricted audience because of the ‘A’ certification. That was a huge risk. We still did it because we knew the space, we knew the genre, and we knew how to place ourselves in the equation creatively. It took hard work, but more than that, it took grit.
There has been a barrage of criticism about the violence and gore in the film…
Marco has not shown even 10 per cent of the violence that exists in society. Every day, while reading newspapers, one comes across acts of violence that put human sensibilities to shame. In Marco, we showed violence as a survival instinct. I don’t underestimate the power of violence. It has been part and parcel of humanity’s evolution over the ages.
When we embarked on the project, we had to understand the emotional changes in the audience that time had brought in. We knew the film would get an ‘A’ certificate. We knew women might not come for it as much, and children could not watch it. I had, in fact, cautioned children against watching it. We, however, were confident there was a space for a good, full-on action film. We fine-tuned our filmmaking based on that understanding. The craft that went into Marco was of high quality.
Do you believe Marco’s success is an answer to the criticisms and alleged lobbying you have reportedly faced in the industry?
No one would make an investment of Rs 30 crore in a film just to answer anyone (smiles). See, I don’t hope or intend to answer to or satisfy anyone, or create goodwill or bad will. Films, their craft, and the way they appeal to the masses in a stylish and decent manner are all that matter to me.
Tell us about Get-Set Baby… You must be hoping to ride on the Marco wave…
Well, not really. The film is entirely of a different kind. Get-Set Baby is about a middle-class dream to nurture a family in an age where the pressures of survival and society are scathing and can be stifling. I try to derive from such dilemmas around me. Meppadiyaan, for instance, was about a man in his early 30s who dreams of owning a place for himself and his family. I could relate to it because I, too, wanted to create such a space for my parents.
Then there was Malikappuram, which explored the spiritual essence inherent in people’s psyche. Tapping into that, we mixed local culture and presented something that was embraced by the audience. There was a wide spectrum of viewers, from toddlers to the elderly. Shafeeqinte Santosham, again, was about an average man, innocent in the face of life’s fleeting challenges.
Get-Set Baby also subscribes to the dreams and aspirations of common people I see around. Nowadays, men and women in their middle ages, bogged down by the stress and strain of life and its many aspirations, enter a phase where they want a family. There are several hiccups they may encounter in this pursuit. The film explores these dilemmas while trying to alleviate concerns — without getting preachy or offending any sensibilities.
Awareness of the different prospects of modern medicine is part of the film. So are elements of entertainment that a good family drama can evoke. It is a film for all.
Do you believe such a subject would reach as wide an audience as Marco did?
Both are different in their make and treatment. So they will click in different ways too. For example, Marco first made it big in theatres because of its theatrical content, and entered the OTT space just a couple of days ago. But Get-Set Baby is expected to reach wider audiences in a gradual manner, especially via OTT. Each film has its character, which has to be taken into consideration.
Considering that you love doing action, it’s a surprise that we haven’t seen you much in uniformed roles, like serious police thrillers or military stories. Why not an Amaran-like film in Malayalam?
Such roles are indeed exciting. I am keen to do such a film. I would love to portray men in uniform. I am indeed scouting for it.
There is buzz that some Bollywood offers have come your way…
I have been receiving offers, not just from Bollywood, but from industries across India. Including from Gujarat, where I grew up. I feel I am blessed to be able to even say this. Discussions have been going on. I am currently focused on my projects here. I do not want to get carried away. And I am in no hurry.
Your analysis of the space where you operate and the subjects you choose shows an astute mind that relies more on planning and strategising than impulse and creative ambition…
Shouldn’t it be so? There has to be a study of the space; plans have to be made accordingly, and the script readied in a way that ensures the film reaches its audience.
I have been a keen observer of cinema for a long time. I believe a film’s entertainment value is a great hallmark. It also has to reflect the aspirations of people around us for it to connect with the masses.
For example, Jai Ganesh was about a differently abled person who leads the storyline. I interacted with many such individuals and realised that while we assume they struggle, their lives are perfectly normal to them. Their normalcy helps them find happiness, strength, and ambitions. Why then should we dictate what is ‘normal’? The film reflects this perspective.
It may not have done as well as Aavesham, which was released around the same time. I didn’t change the release dates. I was sure about the content and its connection with audiences.
When we look around, we find stories worth telling. The storyteller in me only wants to voice them in a way that appeals to the masses — whose very own stories we retell. We just need to find that connection and context.
Do you think the age of movies becoming cult classics, getting rereleased 30 years later, is over? Earlier, films were made that are still remembered for their various facets.
Marco will be one (laughs).
There has been an ongoing controversy over stars and ‘star value’ in Malayalam cinema...
It cannot be discounted that stars have market value, which makes it easier to sell films. There may be negative aspects, such as a culture of tantrums, but the fact remains that stars play a crucial role in the success of big-budget films. However, star power alone does not guarantee success. Weak content and creativity will not work, even with stars. Planning, preparation, and a strong creative team — everything matters.
Instead of debating stars and their value, we should focus on tackling piracy, which has been eating into films’ revenues. Has enough been done to curb piracy and protect films from such losses?
Malayalam superstars have dabbled in parallel cinema as well and excelled. Would you consider such roles?
I have done it, too — Kaattum Mazhayum, Clint, etc. Actually, there is nothing ‘parallel’ in films. It’s all about good content, solid filmmaking, and commercial success.
What are your future projects?
My next project is Gandharvan Jr — again, a film for everyone to enjoy. Then there are projects with wider visibility following Marco’s success. More films will come, hopefully they will break records, exploring emotions in their true style and dignity — and without the need for an ‘A’ certification!